El Greco's personality and work were a source of inspiration for poet Rainer Maria Rilke.
In 1577, El Greco migrated to Madrid, then to Toledo, where he produced his mature works.
In El Greco's work, Meier-Graefe found foreshadowing of modernity.
In 1570, El Greco moved to Rome, where he executed a series of works strongly marked by his Venetian apprenticeship.
Jackson Pollock, a major force in the abstract expressionist movement, was also influenced by El Greco.
The exact number of El Greco's works has been a hotly contested issue.
This album is an expansion of an earlier album by Vangelis, Foros Timis Ston Greco (A Tribute to El Greco, Φόρος Τιμής Στον Γκρέκο).
Though the exact year is not clear, most scholars agree that El Greco went to Venice around 1567.[f] Knowledge of El Greco's years in Italy is limited.
El Greco was determined to make his own mark in Rome defending his personal artistic views, ideas and style.
There was consensus that the triptych was indeed an early work of El Greco and, therefore, Pallucchini's publication became the yardstick for attributions to the artist.
The expressionists focused on the expressive distortions of El Greco.
By 1943, Pollock had completed sixty drawing compositions after El Greco and owned three books on the Cretan master.
And thus we are confronted by a paradox: El Greco is said to have reacted most strongly or even condemned Michelangelo, but he had found it impossible to withstand his influence.
El Greco regarded color as the most important and the most ungovernable element of painting, and declared that color had primacy over form.
